An introduction to the wide range of practical and insightful material available to new artists on www.a-n.co.uk Includes Artists profiles that illustrate how artists from a range of practices and disciplines have negotiated their own paths through the art world. […]
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I read with interest your latest Good Practice publication, Negotiating your practice.
Aimed at public sector arts employers, commissioners, consultants and arts trainers, addresses the context for fees and payments for artists’ residencies, workshops and community commissions. Download pdf [Size 497KB]
Although aimed at visual artists, a-ns Good practice in paying artists, sets out a framework for paying practitioners according to their overheads and experience, and The artists fees toolkit have been recommended by Theatre Education News the quarterly magazine […]
Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
Lee Corner introduces the Code of Practice for the Visual Arts.
Collyer Bristow, London
22 September – 1 December
Informed by the Code of practice, contains guidance on how artists and exhibition venues can achieve good practice in their working arrangements.
A text only version of this publication can be found at www.a-n.co.uk/fees_and_payments
Encouraging a consistent attitude to quantifying the value of artists across the exhibition and gallery world.
Colin Hambrook, disabled artist and editor of Disability arts online, gathers a selection of quotes and advice about the practice and development of disability arts from artists, arts managers, curators, producers and gallery directors working within the sector.
The Code of Practice for the Visual Arts and how to use it. Includes profiles and negotiating advice from artists, a guide to working out what to charge, plus links to other useful resources.
In 1999 John Carson made a passionate call for a more rigorous approach to arming graduating art students with knowledge of where their work and practice fitted within the wider world and interfaced with audiences. Sarah Rowles, commissioned by a-n to research the state of professional practice provision on BA fine and applied art courses, offers a perspective on the situation now.
‘Ladders for development’ argues that the visual arts sector should pull together and support small visual arts organisations cut by Arts Council England because they “punch above their weight” and provide vital development of future artists. Six months on, Dany Louise interviews these arts organisations again, to find out how they’ve fared and what their futures hold.
Andrew Bryant on what Projects unedited blogs tell us about artists’ practices and concerns today.
Becky Shaw explores the dangers of the concept of ‘continuous practice’ and gives thought to the key factors that enable longevity if artists choose it.
New evidence exposing, quantifying and discussing the likely impact on the visual arts of Arts Council England’s decisions on fifteen previously Regularly Funded Organisations (RFOs) visual arts organisations unsuccessful in their NPO application. It shows that a disproportionate number of artists’ membership and development agencies and practice-based organisations lost core funding, despite ACE’s aim of creating a balanced national portfolio and makes recommendations for sustaining their work as part of a strengthened arts ecology.
A large gap exists today between the reality of being an artist and the image of The Artist which is portrayed by history and media, and perceived by the general public. Rich White asks what do artists actually do for society, how can they help with regeneration, particularly in a time of recession, and what is its real value?
What is an artist-curator? What makes a good collaborative partnership between a curator and an artist? What financial, practical and critical support is available to curators? Do you work with an organisation or go it alone?
Margaret James-Barber and buffy klama (yK) offer two complimentary points of view about ‘M6-M3 Underway/Unterwegs’, an artist-initiated exhibition programme for artists in NW England and Berlin, and its legacy for their own practices and future collaborations.
In a response to a request to consider issues around ‘rural arts practice’, Veronica Vickery writes in the light of the events, performances, installations and seminar that made up BOS-08 and a BOSarts research trip, funded by ALIAS to Grizedale and Allenheads Arts in August 2008.
Paulette Terry Brien reveals how a number of national public-funded galleries and organisations have expanded notions of exhibition programming beyond pristine white-walled gallery spaces, and are commissioning artists to make new and challenging work within the institution, as well as off-site.
The continual shaving of UK arts budgets, cuts in mainstream grants programmes linked with escalating overheads and news of an ever-deepening economic downturn arent good news for visual artists who depend largely on winning freelance contracts and getting good responses to their project proposals.
In this the second feature exploring strategies and approaches to commissioning art in the public realm, the focus is on regeneration and renewal and the role of agencies and consultancies.
Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
Jeanie Finlay points artists in the right direction on the road to self promotion.